Few sounds transcend time and space quite like the driving pulse of Afrobeat, and few artists, for that matter, have defined their own domains quite as profoundly as Tony Allen—the very beat of Afrobeat itself. In 2011, Allen recorded one of his inimitable rhythmic dialogues as part of the Afrobeat Makers Series for the Parisian imprint Comet Records. Charged with the same fervour for uninhibited expression that defined his trailblazing career, Tony Allen’s drumming, free from convention and charting its own course, emanates a cadenced stream of consciousness that speaks its own truth.

If Allen’s language was his beat, then on this record, La BOA—La Bogotá Orquesta Afrobeat—becomes his latest and most fitting interlocutor. What began as a tribute—a song named after Allen—now feels like the prelude to a deeper dialogue in a meeting that seems more like fate than mere happenstance.

Led by producer Daniel Michel, the ever-evolving band has spent over ten years embodying the fluid, transformative spirit of Afrobeat, imprinting it with their distinctly Colombian sensibilities. From Casa Mambo in Bogotá, Michel’s Mambo Negro Records has become a cornerstone of Colombia’s underground scene championing Afro-Colombian and independent music throughout that time.

Across this LP, Allen’s recordings lay down the canvas upon which La BOA paints its own vision of Afrobeat—raw and expansive, locking step with his drum tracks while building around the unmistakable blueprint of their Colombian rhythms: exuding Caribbean beat, rolling with Pacific groove, and, above all, shaped by the rarefied air of the Andean melting pot that is Bogotá. What ensues is an enduring conversation that crosses eras, borders, even life and death—a celebration of the passing of the baton and the boundless nature of Afrobeat as a genre that refuses to settle. Where the beat of Lagos meets the brass of Bogotá, so too La BOA meets Tony Allen.

A1 - Ale
A2 - Tambor
A3 - Patas Arriba
A4 - Cuento Feat Bejuco
B1 - Interludio
B2 - La Maquina De Tony
B3 - Poder
B4 - Tarifa Plena Feat. N. Hardem
B5 - Te Voy A Ver

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Jean-Phi Dary's much-anticipated *MIND* project gets its first release with the *For Peace Remixes EP*. The record is set for release on September 20, 2024, via Comet Records. Featuring the extraordinary talents of French producer *I:Cube*, who brings his extensive expertise in the electronic scene to reinterpret Dary's original MIND compositions in his own unique way.
The record opens with a masterful blend of rhythmic precision and electronic depth, infused with Dary's signature style with a mindful, meditative quality. This 3-tracker delivers a dynamic and immersive experience with *I:Cube* signature rhythmic excellence and sharp focus on dance floor ready grooves.

Jean-Phi Dary, a producer and keyboardist with deep roots in Paris, London, West Africa, the Caribbean, and the United States, has crafted his debut project MIND to serve as a culmination of his musical journey. With sounds inspired by legends such as Herbie Hancock, Wally Badarou, and Brian Eno - Dary's work is bedded deeply in the modern modular synth culture and enriched by his collaborations with renowned artists like Tony Allen, Papa Wemba, and Jeff Mills - who Jean-Phi is currently collaborating with on "Tomorrow Comes The Harvest" with their album Evolution out last year, soon to be followed by a worldwide tour in 2024!
His innovative use of technology and analog instruments, combined with the unique contributions of I:Cube make the *For Peace Remixes* a notable release.

*Artist Quote* "I had the opportunity to use magnificent samples of the voices of singers from the Maroni River in French Guiana on certain tracks, these voices of the Bushinengé people reconnect me to my Guyanese and neg-maroon origins, my mother was born on the river and my father grew up in the Amazon region..”

A1 - For Peace I:Cube Special Mix
A2 - For Peace Mindful Oyapok Mix
B1 - For Peace I:Cube En Direct Remix

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Edoardo Florio Di Grazia is a Cantautore (singer-songwriter) and story collector from the Amalfi coast, born in Florence and living in Paris, of a Neapolitan family..
Edoardo tries, like an antenna, to pick up signals and transform them into songs. Writing songs allows him to travel and unite distant worlds, to create imaginary landscapes on which to dream up new music: the Amalfi rocks of Tangier harbor can lead directly to a house in Belleville overlooking a Florentine piazza.

Edoardo is also a writer, with a PhD in medieval history from the University of Florence, a podcast author, radio show host, and DJ Selector, a compulsive Digger constantly on the lookout for the rare gem. He will publish next spring "Italia Express" the podcast produced by Radiooooo. (https://radiooooo.com) It is a journey in five stages through the main Italian cities (Naples, Rome, Bologna, Milan, and Genoa) to discover music and history, from the post-war period to today.

After a first EP “Indossare Il Mare” released in June 2023, the spring of 2024 will see the release of “Ambra e Corallo”, Edoardo Florio Di Grazia’s first album, produced by the Parisian afro-beat label Comet Records (Tony Allen, Ebo Taylor, etc.). 9 songs about journeys, a small collection of stories found in the deep and mythological Mediterranean Sea. Like bottles in the sea, these songs belong to no one and are timeless, messages whispering us the dream of a new path to explore. The story of his first album, "Ambra e Corallo" has the flavor of a novel, the aftertaste of a contemporary fairy tale.

A1 - C’è Una Stanza Per Te
A2 - Chiedo Scusa
A3 - J’ai Vu
A4 - Fratellacci
B1 - Costiera
B2 - J’oublie
B3 - Rose Bianche
B4 - Quarta Domenica
B5 - Mare Blu

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Ebo Taylor “Twer Nyame” is being reissued on vinyl by Comet Records, pressed on high quality vinyl, with label designs
and artwork as per the original release.
Originally released in 1978 on Philips-West African-Records. Classic highlife sounds; uptempo grooves, vocals, tons of
percussion, guitar, horns and organ lines. Featuring
the stand-out ‘Atwer Abroba’.
Ebo Taylor is one of Ghana's finest producer/arrangers.
Taylor was heavily influential in the unique sound that emerged from the country in the 70's; a combination of traditional
Ghanaian with Afro-beat, jazz, and funk rhythms.
He worked with bands including Stargazers Band, Broadway Dance Band, Black Star Highlife Band (with Teddy Osei and
Sol Amarfio who later joined Osibisa), Apagya Show Band and fellow musicians C.K.Mann, Gyedu-Blay Ambolley and the
legendary Pat Thomas.

TRACKLIST:
Side A
A1. Twer Nyame
Side B
B1. Peace On Earth
B2. Atwer Abroba

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A Ghanaian funk LP from the afrofunk master. one of Ebo Taylor's rarest and most sought-after!
Ebo Taylor and The Pelikans is being reissued on vinyl by Comet Records, pressed on high quality vinyl, with label designs
and artwork as per the original release.
Originally released by Ghanian Abookyi label in 1976, Ebo Taylor and The Pelikans is one of Taylor’s most elusive releases,
and marked the first time he sang on the seminal Ghana Funk anthem “Come Along”.
The album saw the legendary musician, producer, composer and arranger joining forces with 12-piece Cape Coast Ghanian
band ‘The Pelikans’ led by Bessa Simmona with rhythm guitarist Fifi Orleans Lindsay.
Put simply, there has never been a musician and artist quite like Ebo Taylor. As an artist, arranger, musician and producer
he’s a combination of James Brown, Nile Rodgers and Quincy Jones: He not only created some of the greatest funk songs
ever recorded but as much if not more than that, his genius as an arranger gave the signature sound to high life and afrobeat
that was made famous by his one-time London roommate (from when they were both music students, in The early 1960s)
Fela. And his funky guitar brought a percussive sound to the rhythm section that didn't exist before.

TRACKLIST:

A Side
A1. Enye Nyame Nko
A2. Gyae Su Na Nkomo
A3. Reality

B Side
B1. Egya Edu
B2. Mber No Aso
B3. Come Along
B4. If You Care

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True concept albums are actually few and far between. While it can be said that The Who’s Tommy and Quadrophenia, or Pink Floyd’s The Wall were designed from the ground up, that’s not necessarily the case for equally mythical, yet composite, albums such as Bowie’s The Rise And Fall of Ziggy Stardust…, or Lou Reed’s Berlin. In France, the genre established its pedigree in the 1970s with Serge Gainsbourg, then in the early 1980s with Léo Ferré. Cri d'amour by Mélanie Chédeville adds to this list of albums that tell a story through characters.

Cri d'amour was produced in a seaside setting, which may explain its flowing, organic character. It is all by herself that the violinist-by-training composed, wrote and arranged this collection of string-drenched songs that recall Jean-Claude Vannier’s work for Serge Gainsbourg. The latter would undoubtedly have been impressed by Mélanie’s fine-cut lyrics and melodies that are as raw as they are sophisticated, vocalized in a sprechgesang recalling his own. The deliberately retro palette, up to the bass sound so typical of 1960s English rock, betrays an artist indebted to the creator of Bonnie & Clyde and Initials B.B. through a sensual, clear tonality. Yet, polyrhythms borrowed from the late afro-beat legend Tony Allen, and the touches of guitar, piano, percussion and synthesizers distilled here and there by Éric and Mélanie, end up giving the whole affair a resolutely atemporal color.

Mélanie was sixteen with a head full of Beethoven and Brahms when she succumbed to an unexpected fascination for the world of Éric, a pianist, composer and sound engineer, who regularly delivered scores for Marc Dorcel’s X-rated films. She evokes him in L'Alpha-bêta and Le Pornographe, through whispered choruses that would suit the late Julee Cruise or Vanessa Daou to a tee, and explicit allusions to a “sword of Damocles” of “XXL” dimensions.

These are not the only texts on this album that remind us of the Franco-American author Anaïn Nin’s erotic poems, a model that Mélanie willingly takes on, adding to the list of her literary influences alongside Apollinaire and his Debauched Hospodar:

Some may find this album old-fashioned, which, far from being a flaw, is a credit to the fine musician that Mélanie is. Others will call it a charming album, which is not a bad way to describe it, provided that it is a powerfully relentless charm.

Tracklist:

A1 - Mélanie
A2 - L’Alpha Beta
A3 - It’s Not Too Late
A4 - Paris
A5 - La Folia
A6 - Le Pornographe
A7 - La Belle Histoire
B1 - Nausica
B2 - Le Soleil
B3 - Cri D'amour
B4 - C’est Dans l’Air
B5 - Folk Silencio
B6 - Les Croisés

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Comet Records presents Afro Rhythms Vol. 2, the first repress of Comet’s singles and
Remixes from 2009 – 2017 with floor filler tracks from Tony Allen Afrobeat pioneer 'African Man"
remix by Ricardo Villalobos & Max Loderbauer along with the afro deep house reedit of "Cotton’s
Field" by French producer Jeff Sharel, the "Awakening" remix from Krazy Baldhead, former artist
of Ed Banger and producer of electro malian band Donso and finally Africaine 808 to end this Afro
Rhythms comp with their stunning remix of Afrobeat classic tune "Afrodiscobeat". A proper trawl
through the vaults of Comet Records.

A1. Tony Allen – African Man (Ricardo Villalobos & Max Loderbauer Remix)
A2. Brighter Nights - Cotton’s Field (Jeff Sharel Minimal Edit)
B1. Theo Parrish, Tony Allen & Eska - Day Like This (Molo Remix)
B2. Donso – Awakening (Krazy Baldhead Remix)
B3. Tony Allen - Afrodiscobeat (Africaine 808 Rework)

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Few sounds transcend time and space quite like the driving pulse of Afrobeat, and few artists, for that matter, have defined their own domains quite as profoundly as Tony Allen—the very beat of Afrobeat itself. In 2011, Allen recorded one of his inimitable rhythmic dialogues as part of the Afrobeat Makers Series for the Parisian imprint Comet Records. Charged with the same fervour for uninhibited expression that defined his trailblazing career, Tony Allen’s drumming, free from convention and charting its own course, emanates a cadenced stream of consciousness that speaks its own truth.

If Allen’s language was his beat, then on this record, La BOA—La Bogotá Orquesta Afrobeat—becomes his latest and most fitting interlocutor. What began as a tribute—a song named after Allen—now feels like the prelude to a deeper dialogue in a meeting that seems more like fate than mere happenstance.

Led by producer Daniel Michel, the ever-evolving band has spent over ten years embodying the fluid, transformative spirit of Afrobeat, imprinting it with their distinctly Colombian sensibilities. From Casa Mambo in Bogotá, Michel’s Mambo Negro Records has become a cornerstone of Colombia’s underground scene championing Afro-Colombian and independent music throughout that time.

Across this LP, Allen’s recordings lay down the canvas upon which La BOA paints its own vision of Afrobeat—raw and expansive, locking step with his drum tracks while building around the unmistakable blueprint of their Colombian rhythms: exuding Caribbean beat, rolling with Pacific groove, and, above all, shaped by the rarefied air of the Andean melting pot that is Bogotá. What ensues is an enduring conversation that crosses eras, borders, even life and death—a celebration of the passing of the baton and the boundless nature of Afrobeat as a genre that refuses to settle. Where the beat of Lagos meets the brass of Bogotá, so too La BOA meets Tony Allen.

A1 - Ale
A2 - Tambor
A3 - Patas Arriba
A4 - Cuento Feat Bejuco
B1 - Interludio
B2 - La Maquina De Tony
B3 - Poder
B4 - Tarifa Plena Feat. N. Hardem
B5 - Te Voy A Ver

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